Further, there is with his instrumental music, as with his vocal music, nearly always an intimate and picturesque expression. For Handel, as with his friend Geminiani, "the aim of instrumental music is not only to please the ear, but to express the sentiments, the emotions, to paint the feelings."[349] It reflects not only the interior world, but it also turns to the actual spectacle of things.[350] It is a precise poetry, and if one cannot define the sources of his inspiration, one can often find in certain of his instrumental works the souvenir of days and journeys, and of scenes visited and experienced by Handel. It was here that he was visibly inspired by Nature.[351] Others have a relationship with vocal and dramatic works. Certain of the heroic fugues in the fourth book of the Clavier pieces published in 1735 were taken up again by Handel in his _Israel in Egypt_ and clothed with words which agreed precisely with their hidden feeling. The first _Allegro_ from the Fourth Organ Concerto (the first book appeared in 1738) soon became shortly afterwards one of the prettiest of the choruses in _Alcina_. The second and monumental concerto for two horns in F Major[352] is a reincarnation of some of the finest pages from _Esther_. It was quite evident to the public of his time that the instrumental works had an expressive meaning, or that as Geminiani wrote, "all good music ought to be an imitation of a fine discourse." Thus the publisher Walsh was justified in issuing his six volumes of Favourite Airs from Handel's operas and oratorios, arranged as _Sonatas for the flute, violin, and harpsichord_, and Handel himself, or his pupil, W. Babell, arranged excellently for the clavier, some suites of airs from the operas, binding them together with preludes, interludes, and variations.--It is necessary always to keep in view this intimate relation of the instrumental works of Handel with the rest of his music. It ought to draw our attention more and more to the expressive contents of these works. * * * * * The instrumental music of Handel divides itself into three classes: firstly--music for the clavier (the clavecin and organ); secondly--chamber music (sonatas and trios); thirdly--orchestral music. The compositions for clavier are the most popular works of any that Handel wrote, and these have achieved the greatest number of European editions. Although they comprise three volumes, yet there is only one, the first, which represents him properly, for it is the only one which he prepared himself, and supervised. The others, more or less fraudulently published, misrepresent him.